The Dark Knight Movie NEW!

Christopher wanted to cast an actor with an all-American "heroic presence" for Harvey Dent, something he likened to Robert Redford but with an undercurrent of anger or darkness.[52] Josh Lucas, Ryan Phillippe, and Mark Ruffalo were considered, as well as Matt Damon, who could not commit due to scheduling conflicts.[o] According to Christopher, Eckhart had the all-American charm and "aura ... of a good man pushed too far".[10][52] Eckhart found portraying conflicted characters to be interesting; he said the difference between Dent and Batman is the distance they are willing to go for their causes, and that after Dent's corruption he remains a crime fighter but he takes this to an extreme because he dislikes the restrictions of the law.[10][66] Eckhart's performance was influenced by the Kennedy family, particularly Robert F. Kennedy, who fought organized crime with a similarly idealistic view of the law.[67] During discussions on the portrayal of Dent's transformation into Two-Face, Eckhart and Christopher agreed to ignore Tommy Lee Jones's "colorful" portrayal in Batman Forever (1995), in which the character has pink hair and wears a split designer suit, in favor of a more realistic, slightly burnt, neutral-toned suit.[67]

The Dark Knight Movie

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Principal photography began on April 18, 2007, in Chicago on a $185 million budget.[s][t] For The Dark Knight, Pfister chose to combine the "rust-style" visuals of Batman Begins with the "dusk"-like color scheme of The Prestige (cobalt blues, greens, blacks, and whites), in part to address over-dark scenes in Batman Begins.[81][94] To avoid attention, filming in Chicago took place under the working title Rory's First Kiss but the production's true nature was quickly uncovered by media publications.[95] The Joker's homemade videos were filmed and mainly directed by Ledger. Caine said he forgot his lines during a scene involving one video because of Ledger's "stunning" performance.[34]

Several publications called The Dark Knight the best comic-book hero adaptation ever made. Roger Ebert said it, alongside Iron Man, had redefined the potential of superhero films by combining comic-book tropes with real world events.[ai] Some appreciated its complex moral tale about the effects of vigilantism and terrorism on contemporary society. Emanuel Levy and Manohla Dargis praised the depiction of the characters as possessing both positive and negative aspects, such as Batman's efforts to end crime provoking unintended consequences and a greater response from criminals; Dargis believed The Dark Knight's exploration of chaos, fear, and death, following the September 11 attacks in 2001, represented "that American movies have entered a new era of ambivalence when it comes to their heroes or maybe just superness."[aj] Others criticized the dark, grim, intense, and self-serious tone as lacking any elements of fun or fantasy.[ak] David Denby said The Dark Knight was a product of a "time of terror", but focused on embracing and unleashing it while cynically setting up a sequel.[210] Stephanie Zacharek and David Edelstein criticized a perceived lack of visual storytelling in favor of exposition, and aspects of the plot being difficult to follow amid the fast pace and loud score.[232][233] Christopher's action direction was criticized, especially during fight scenes where it could be difficult to see things clearly,[227][228] although the prologue bank heist was praised as among the film's best.[al]

The Dark Knight focuses on the moral and ethical battles faced by the central characters, and the compromises they make to defeat the Joker under extraordinary circumstances.[ay] Roger Ebert said the Joker forces impossible ethical decisions on each character to test the limits of their morality.[220][310] Batman represents order to the Joker's chaos and is brought to his own limit but avoids completely compromising himself. Dent represents goodness and hope; he is the city's "white knight" who is "pure" of intent and can operate within the law.[310][311][318] Dent is motivated to do good because he identifies himself as good, not through trauma like Batman, and has faith in the legal system.[311] Adlakha wrote Dent is framed as a religious icon, his campaign slogan being "I believe in Harvey Dent", and his eventual death leaves his arms spread wide like Jesus on the Cross.[310][318] Eckhart described Dent as someone who loves the law but feels constrained by it and his inability to do what he believes is right because the rules he must follow do not allow it.[66] Dent's desire to work outside the law is seen in his support of Batman's vigilantism to accomplish what he cannot.[42]

Dent's corruption suggests he is a proxy for those looking for hope because he is as fallible and susceptible to darkness as anyone else.[318] This can be seen in his use of a two-headed coin to make decisions involving others, eliminating the risk of chance by controlling the outcome in his favor, indicating losing is not an acceptable outcome for him. Once Dent experiences a significant traumatic event in the loss of Rachel and his own disfigurement, he quickly abandons his noble former self to seek his own form of justice. His coin is scarred on one side, introducing the risk of chance, and he submits himself to it completely. According to English professor Daniel Boscaljon, Dent is not broken; he believes in a different form of justice in a seemingly unjust world, flipping a coin because it is "Unbiased. Unprejudiced. Fair."[321]

Before The Dark Knight, superhero films closely emulated their comic-book source material, and though the genre had seen significant successes such as Superman (1978), Batman (1989), X-Men (2000), and Spider-Man (2002), they were often considered disposable entertainment that did not garner much industry respect.[bb] A 2018 retrospective by The Hollywood Reporter said The Dark Knight taught filmmakers "comic book characters are malleable. They are able to be grounded or fantastic, able to be prestigious or pure blockbuster entertainment, to be dark and gritty or light, to be character-driven or action-packed, or any variation in-between."[285]

The Dark Knight is considered a blueprint for the modern superhero film that productions either attempt to closely emulate or deliberately counter.[bc] Its financial, critical, and cultural successes legitimized the genre with film studios at a time when recent films, such as Daredevil, Hulk (both 2003), Fantastic Four (2005), and Superman Returns (2006) had failed to meet expectations.[275][333] The genre became a focus of annual studio strategies rather than a relatively niche project, and a surge of comic-book adaptations followed, in part because of their broad franchising potential. In 2008, Ebert wrote; "[The Dark Knight], and to a lesser degree Iron Man, redefine the possibilities of the 'comic-book movie'".[210] The Atlantic wrote Iron Man's legacy in launching the Marvel Cinematic Universe (MCU) could not have happened without the financial and critical success of The Dark Knight, which made comic book adaptations a central focus of film studios.[184][275][285]

Retrospective analysis has focused on the way studios, eager to replicate its performance, released tonally dark, gritty, and realistic films, or reboots of existing franchises, many of which failed critically or commercially.[277][285][329] Some publications said studios took the wrong lessons from The Dark Knight, treating source material too seriously and mistaking a dark, gritty tone for narrative depth and intelligent writing.[bd] The MCU is seen as a successful continuation of what made The Dark Knight a success, combining genres and tones relevant to each respective film while treating the source material seriously, unlike the DC Extended Universe, which more closely emulated the tone of The Dark Knight but failed to replicate its success.[329][335]

The Dark Knight remains popular with entertainment industry professionals, including directors, actors, critics, and stunt actors, being ranked 57th on The Hollywood Reporter's poll of the best films ever made,[357] 18th on Time Out's list of the best action films,[388] and 96th on the BBC's list of the 100 Greatest American Films.[358] The Dark Knight is included in the film-reference book 1001 Movies You Must See Before You Die,[389] and film critics James Berardinelli and Barry Norman included it in their individual listings of the 100 greatest films of all time.[359][360] In 2012, Total Film named it the sixth-most-accomplished film of the preceding fifteen years, and a 2020 article by Empire named The Dark Knight as one of the films that defined the previous three decades.[390][391] In 2020, Time Out named it the seventy-second-best action movie ever made.[392]

The Dark Knight Series is a set of three Christopher Nolan Batman movies. It includes Batman Begins (2005),[1] The Dark Knight (2008), and The Dark Knight Rises (2012).[2] Christian Bale, Michael Caine, Gary Oldman, Morgan Freeman, and Cillian Murphy appeared in all three movies.

All cast and crew members worked on all three movies, except for music composer James Newton Howard who did not work on The Dark Knight Rises. Composer Hans Zimmer worked together with Howard on the first two films and made the soundtrack for the last movie by himself. Katie Holmes played Rachel Dawes in Batman Begins, but was replaced by Maggie Gyllenhaal in The Dark Knight. Liam Neeson appeared as Ra's al Ghul in Batman Begins and in The Dark Knight Rises.

Each of the three movies was a success in the box office; The Dark Knight was the number one grossing movie in 2008.[3] The Dark Knight Rises is the third highest grossing movie of 2012. Batman Begins is the ninth highest grossing movie in 2005. Batman Begins earned $372,710,015 worldwide. The Dark Knight earned $1,023,045,358. The Dark Knight Rises earned $1,081,041,287, passing the receipts of The Dark Knight. 041b061a72